By Melissa Fossum
By Lauren Wise
By New Times
By Amanda Savage
By Jason P. Woodbury
By Troy Farah
By New Times
That same streak led to Drunken Bees, a movie that Dissard directed in 1994 about the celebrated Tucson group Giant Sand. But the creative collusion didn't stop there. Dissard, also a longtime poet, lent her warm yet haunting vocals to "Ballad of Cable Hogue," by Calexico, the main project of Giant Sand's Joey Burns -- and Burns is also co-writing and producing Dissard's upcoming, as-yet-unnamed solo debut, a disc as informed by Nico and Nick Drake as it is by the sophisticated French pop of her youth.
"Growing up," she recalls, "the classic singer-songwriters were always around: Jacques Brel, Brigitte Fontaine. That's why the words, the lyrics, have always been important to me. That's the French tradition."
Burns, however, isn't Dissard's only collaborator. Paris native Naim Amor met Dissard while the latter was working on Drunken Bees, and they later married and began making music together. Amor played in punk bands in France before moving to the U.S., even though his current output veers from jazzy to folky to sublimely atmospheric.
"Back then, punk rock meant listening to all kinds of stuff," he remembers. "I was a big fan of free jazz and also '50s rock 'n' roll and rockabilly. To me, the punk rock attitude was about being creative, not about the look and the package."
Sanguine, the full-length he just finished recording, also features Burns and his Calexico compadre John Convertino. But despite all the close musical friendships Dissard and Amor have made in the States, the two songsmiths have remained committed to each other -- their current tour features Amor as both a solo performer and Dissard's backing musician -- and to their own cultural heritage. "It's all about blending the French tradition with the American," Dissard notes. "But it's not about becoming American. I never want to forget where I came from."