Margot Sergent
In the vibrant tapestry of New York City’s music scene, Margot Sergent emerges as a multi award-winning classical musician, captivating listeners with her neo-jazz cabaret discography. Hailing from Paris, her musical journey began at the age of four, swiftly propelling her into the spotlight of one of France’s beloved TV shows by the age of eight. A recipient of the “Performance Award“ at the exclusive Ecole Normale/Alfred Cortot University, Her early years laid the foundation for her musical style that seamlessly blends her French roots with jazz improvisation. Before her move from Paris to New York City in 2015, she attended the Berklee College of Music in Boston to refine her craft under the mentorship of luminaries like Maggie Scott, former vocal teacher to legends Diana Krall and Esperanza Spalding.
Sergent is not just a musician; she's a storyteller, a conjurer of emotions through the lyrical dance of her harp and airy soprano voice. The crescendo of her artistic journey cultivated on December 8, 2023, with the release of the album “Douce France Sweet France,” under the New York label Zo’ho. Her compositions, a delicate dance between English and French, reveal the soulful depths of experiences - from the transformative power of love in "Dans Tes Bras Mon Ange" to the celebration of life's small victories in "Silent Steps." In Sergent’s world, music isn’t just heard, it’s felt, experienced, and cherished.
Your musical journey began at a very young age. Please share some early influences that inspired you to pursue a career in music?
I embarked on an artistic journey later in life, as there was considerable familiar resistance to it in my formative years. Being an artist didn't carry the same weight as professions like being a doctor, lawyer, or architect in my family. As a consequence, I chose to embrace my identity as an artist when denying it became impossible. Along the way, I recognized the influence of Ella Fitzgerald and Frank Sinatra, my uncle's favorite, subtly shaped my artistic path in my earliest years. At the time, I wasn't aware it was called jazz; the only acceptable music genre to my parents’ eyes was classical music or popular trending French songs. My uncle was an American pilot, New York born, and exulting in charisma and kindness. He became, in a short time, due to a premature death of my main fatherly figure. I couldn’t see him often, but he clearly planted an American seed in my heart. To satisfy my undeniable artistic hunger, I received a classical music education, focusing on piano and harp. Composers like Schubert, followed by Ravel, Debussy, Poulenc, and Satie, became my favorites. It was only later on that I realized the reason why. Their intricate and complex-colored harmonies were my initial steps into jazz. For Poulenc and Satie, there was a clear connection to the cabaret aesthetic. It would take years to put all the pieces of the puzzle together, but when it happened, and I pictured myself singing and swinging on the harp, between the jazz and cabaret world, I heard a clear YES in my heart. Question came on how, as I didn’t have many references to take that road.
How do you incorporate French cultural elements into your music, and how do you balance traditional influences with your own unique style?
I arrived in New York with a clear mission: to start my career afresh, driven by my love for jazz, especially traditional jazz, and “swing.” Finally, after all those classical years, I had discovered music that resonated perfectly with who I am. My focus was entirely on songwriting in English and immersing myself exclusively in the Great American Songbook. Starting later than the musicians I collaborated with, I felt the need to make up for the time I thought I had lost. Nothing was lost; they were the perfect steps to go though.
To my surprise, I found a significant appreciation for French classics from the American audience, perhaps even more than with French audiences. My mentor in France, Antoine Larcher, who is an established cabaret singer and songwriter, had already made me realize my interest in the cabaret spirit. Though it was only upon request that I started to delve deeper into the repertoire and journey of Edith Piaf. It was in America that I truly began to fully embrace and incorporate my French roots into my artistic expression, as I became passionate by her, even more by the person than the artist.
During this exploration, I uncovered treasures and unknown gems from the 1920s to the 1940s, illustrating the genuine mutual appreciation between French and American music. Singers and songwriters like Charles Trénet, Boris Vian, and Charles Aznavour played major roles in this artistic exchange. In those times, French songs became American standards, and vice versa. It felt natural for me to contribute by keeping these collaborations alive, continuing to perform them, and songwriting with the intention to contribute, at my level, to this legacy.
Through this journey, I developed a passion for cross-cultural topics and created an entire YouTube channel dedicated to it, called “Margot In New York;” ten years abroad only developed my American heart, but revealed the French in me: https://www.youtube.com/@margotinnewyork
Your compositions seamlessly blend English and French. How do you decide which language to use for a particular song, and do you find that each language brings a different nuance to the storytelling?
Having been overseas for a solid decade now, my thought process operates in both French and, albeit still a bit rough around the edges, English. When it comes to my creative flow, it usually kicks off with all kinds of seeds. Some of them are a melodic line, a chord progression, or a specific moment I've either experienced or witnessed that carries a certain grace that I want to honor and pass on. If a phrase pops into my head in English, I roll with it, Likewise for French. However, there are exceptions. I once did an English version of a song originally composed in French. I had to adjust the tempo as the French language tends to be spoken at a quicker pace than American English (or maybe, it’s just me). Surprisingly, it turned out to be a good match, bringing a slightly different nuance to the piece.
The different voice placement, resonating areas, and how to shape vowels is another story. I love writing French lyrics on American standards and performing a song in both languages. Yet, it's a transformative process that required dedicated training with my vocal coach. It was fortunate he had the same interest to understand more of the French pronunciation to guide his French students the best he could. I eventually let go of the idea of sounding like a native English speaker. I don’t want to erase my previous life. This is a continuity. I prefer to embrace the distinct French color in my English language expression. I find the charming English fluctuation of artists like Stacey Kent or Blossom Dearie to be beautifully honest.
How did your time at the Berklee College of Music, studying songwriting, jazz improvisation, and vocal performance contribute to your growth as a musician? Are there specific moments or lessons that had a profound impact on your style?
My time at Berklee College of Music stands out as the most transformative phase in my musical journey. Immersed 24/7, I found myself surrounded by some of the most passionate, dedicated, and knowledgeable teachers and mentors I had ever met. There was no escape; I had no choice but to commit exclusively to my art, leaving zero room for distractions.
Coming from a background where I considered myself fairly professional in France, deeply immersed in my craft as a classical/pop musician, Berklee catapulted my goals to another planet. It’s clearly another mindset that I feel more comfortable with so far. Despite my prior success in France, the transition from classical to jazz turned out to be a more nuanced and challenging process. And I loved it. The sheer abundance of talent and devotion around me left me feeling entirely uplifted.
It was at Berklee that I made a solemn vow: to fully commit, explore, push the limits of my instrument, and dedicate myself to jazz for the rest of my life. This commitment is all about continuing to keep discovering more freedom in my sound and songwriting.
Transitioning from Paris to New York City is a significant change. How did the move impact your musical perspective, and what elements of the city's atmosphere influence your compositions?
While I can’t deny Paris exudes vibrancy and charm, I feel New York is truly explosive. The best and the worst coexist in these cities simultaneously. Developing a thick skin was a survival necessity for me. As a dear colleague of mine, Jesse Gelber, said, “this is a unique place where no one will question your ambition.” Back in France, my risk-taking nature was perhaps too much for the environment. I was happy to find a more supportive mindset across the ocean. I feel more aligned to the French culture on the basic needs (you know I would talk about food at some point, but in New York, I feel completely in my element on the artistic and professional side among many other elements of the American and French culture that I love.
This first album is a dedication to those years of adaptation and growth, navigating through three cultures I also have a cultural crush on Brazilian music thanks to the tour I was part of for the wonderful Mônica Passos and her album, “Lemniscate.” Currently, this is one of my main inspirations. Each song on the album bears the distinct imprint of these influences independently. Some songs are clearly on the French side, others on the Brazilian side, or the American side. I think my sound could blend even more of those influences in the future. I feel this album is an homage to memories and parts of my journey.
New York jazz, and trad jazz claim more and more space in my artistic landscape. This is my direction and quest. My musical palette is also evolving, with increasing influence from vocal-instrumentalists like Blossom Dearie and Janice Friedman. Being a harpist-singer as one instrument with two sides that could influence each other is definitely what makes my heart content.
Every artist faces challenges. What are some significant ones you've encountered in your musical journey, and how have they contributed to your growth as a musician?
The harp isn't exactly what you'd call a typical jazz instrument by its very nature. The pedals, which alter notes, aren't exactly bop-friendly, to put it mildly. I've battled through numerous years of imposter syndrome, an ongoing crisis that has been a constant companion. There will be limitations. But if I had decided to give up, there would have been no extra colors in my repertoire. I followed the Aydrey Hepburn quote: “ Nothing is impossible; the word itself says I’m possible”. I decided to stay stubborn and patient. I am happy I did.
I owe a tremendous debt of gratitude to my incredible fellow musicians who have served as the most supportive cheerleaders throughout these years. They validated me long before I could do it for myself. Then brought me to the idea I didn't necessarily need validation, but just to enjoy what I was creating and looking for, how unrealistic it might be. It took me a contract signed with the multi-Grammy award-winning label Zo’ho to dare to share my story, hoping it will save time and give hope to other artists.
The harp plays a central role in your ensemble. What led you to choose the harp as your primary instrument, and how do you feel it adds a distinctive layer to your compositions?
The harp is my oldest life companion, alongside the voice; I have always sung and danced. I learned to read notes before words. I don’t recall a moment of my life without having this safe space that is art. The harp always brought me to another dimension playing it. I adore its ability to bring forth a diverse range of colors. It can be ethereal and dreamy but also surprisingly rhythmic and swinging. The harp has the versatility to traverse through time, countries, and maybe dimensions. I am deeply transported by Celtic melodies, Latin-American dancing patterns. It’s the quintessential instrument for storytellers. It allows me to convey the widest spectrum of emotions and bring my audiences to a trance.
You've collaborated with talented musicians on this album. How do these collaborations impact the creative dynamics of your music, and what do you value most about working with such accomplished individuals?
It's still at this time a pinch-me ensemble to me. Every musician on this album, including the sound engineers, is y at the top of their game. It might sound like an exaggeration, but I genuinely believe they are among the best of their generation. They are my favorite, hands down. Till the point I only explain to have them on board with my deep admiration for their talent right from the day we first collaborated on other projects. Furthermore, I was fortunate, especially with Linus, Pat, and Alec, to have consistent opportunities to perform together over the years, that made us a band, in the best old-fashioned way possible.
Tal Yahalom also played a pivotal role as the arranger and music director on the album, being one of my jazz mentors for an extended period. The sound I've been developing on the harp has evolved under his guidance. It made the arranging process a comforting thing based on continuity. These longstanding partnerships made the recording experience unexpectedly smooth. It was easy, joyful, and made us bound with each other even more. I'm thrilled that we were able to bring our stage energy, our live performances, into the studio. We recorded as a band. These musicians have not only been an infinite source of inspiration but also provided solid guidance on how to stay focused on the craft. I just love them.
Your compositions are described as storytelling. Please share the inspiration behind one of your favorite songs and how you approach weaving narratives into your music?
"Keep the Moon in Mind" came to life after a retreat in Tunisia. I crossed paths with a woman who was suffering from an overpowering drive and decisiveness. That had led her to lose faith in herself and her ability to attract positive things. She concluded that life HAD to be a constant battle and was exhausted about it. As the retreat progressed, she became more aware of her negative thoughts and stories she had created to feed those beliefs. She seemed more at peace every day. However, one night, as we gazed at the stars, she couldn't help but repeatedly wish upon shooting stars. After a while, I couldn't resist pointing out, "Are you aware they are dying stars?" We shared a laugh. We grew up together a little that night. She taught me something about my own struggle. She was a kind of a mirror to my own things.
During our discussions, we reflected on the powerful yet discreet influence of the moon controlling tides, and moderating the Earth's wobble on its axis. Phrases emerged from this shared experience, inspiring a poem that eventually became the lyrics for "Keep the Moon in Mind." The music came later, bringing the essence of our conversation, aka song seed, into a song.
Your album is dedicated to several individuals, including family and supporters. Tell us about the significance of these dedications and how these individuals impacted your musical journey?
I wholeheartedly believe that every person we cross paths with has a pedagogic mission for us. There is no “other;” we all contribute to each other's growth at different levels, whether the connections are painful or joyous. Throughout my life, some individuals have been profound teachers, offering lessons that have helped me navigate the complexities of the human experience. Yes, it’s a hard path to be mortal, and yet, the best present ever. The people who influenced me the most definitely brought more kindness, tenderness, and acceptance. They taught me how to love myself better and therefore focus on bringing more peace around me than chaos.
I felt the necessity to keep these memories alive forever. I found the most comprehensive way to do so, in my world, was to dedicate a song to them. Each song serves as a tribute, describing the specific moments or transformations that these individuals initiated in me. It's my way of acknowledging the profound influence they've had on my journey and saying “thank you” without any expiration date.
Looking ahead, are there specific themes, genres, or collaborations you aspire to explore in your future projects? Can you give a glimpse into what might be next?
There is so much I have in mind, projects that are waiting to find a more powerful (therefore efficient) producer than I am. Recording through-the-years cherished French and American jazz standards, a studio version of “The Edith Piaf Experience” show that I wrote and performed many times those past two years, and writing a show about Blossom Dearie and Elis Regina are current projects in the making. The idea of recording French versions of American Standards, especially with my longtime piano partner Peter Yarin, is something I am really looking for.
I would love to tour with the “Edith Piaf Experience” show in France, Quebec, and Japan, as well as producing on my second original album. I am also thrilled I found my r way back to acting after obtaining my Green Card, with projects already in the pipeline. I have a nature to dream big; this is what brought me to New York and to live the perfect life I am living now, that I will live with zero regrets since this first album is out. I love collaborating with artists I admire for different reasons, such as Deedee Bridgwater, Rogê, Seu Jorge, Michael Bublé, Sting, Alexis Michalik, Vanessa Paradis, Remy Bezançon, or Camille Cottin would be amazing. I have a totally similar excitement though just thinking I am preparing my album release show at The Cutting Room on March 3rd at 7:00 pm.
Social Media.
https://www.tiktok.com/@margotsergentmusic
https://www.instagram.com/margotsergentmusic/
https://www.youtube.com/@MargotSergentOfficial
CREW CREDITS:
PhotoBook Editor-In-Chief: Alison Hernon
PhotoBook Creative Director: Mike Ruiz @mikeruiz.one
Photographer: Alan Bresson
Talent: Margot Sergent
Hair + Makeup: Luis Guillermo Duque
Tearsheets by Daniel López, Art Director, PhotoBook Magazine
Interview by Makenna Tourville, Contributor, PhotoBook Magazine
RADAR Created by Ayoka Lucas
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