Elizabeth Shephard, Rewind

Why do jazz vocalists tend to be more popular than their instrumental counterparts among plain folks? Words, for one thing. My sister-in-law is an example. She cannot listen to music that doesn't have words. There must be vocals. OK, I can understand that. And jazz standards tend to be about romantic topics, which folks tend to resonate with. There are many very pretty female vocalists, dashing male singers, also. I can understand that. Jimmy Rushing, "Mr. Five By Five," was a notable exception. He wasn't pretty! And of course none of that matters in the end, if they can sing.

The fact is though, that we naturally respond to the human voice, like baby ducks respond to their mom, following her anywhere. We are imprinted with it. And to understand what's really good about a jazz vocalist, listen to some not-so-good ones and you will be reminded, especially after you put on some Billie Holiday afterwards.

So we have Elizabeth Shepherd. Pretty? Sure. Even if she wasn't though, she has a voice that leaps out of the speakers at you. On her latest, Rewind (Linus 270135), which I believe is her second, you hear her and there is an immediate recognition. The voice has a sensuous quality, plenty of finesse, pitch perfect control and she does versions of things that stand out as different, sometimes partially due to he double-tracking vocal harmonies she incorporates as backdrop, but even if not. If I were a baby duck I'd follow her wherever she led. Quack!

"Lonely House," the Kurt Weil-Langston Hughes masterpiece, for example. Take that. Her version comes across whispery, sulky, truly lonely sounding. One of the best versions I've ever heard, in fact.

So there is an emotional element involved too in doing these songs right. Betty Carter didn't care all that much about that aspect and nobody cared because she just blew you away. There are songs though where some kind of emotional honesty is needed and the fickle-fay-phony mannerist opposite destroys the song and degrades the fine art of singing in a jazz mode. Billie again. You know she was feeling it.

So these are some reasons why Elizabeth Shepherd is such a pleasure to hear. Chanteuse extraordinaire!

Alison Wedding, This Dance

Alison Wedding is a rather remarkable singer-songwriter with a strong jazz inflection. Her new one, This Dance (Ground Up 2012), puts her in a select league of great voices who write musically rich, very personal songs.

Michael League of Snarky Puppy produced and arranged the date and that worked out very well--especially for the full-fledged arrangements that retain the soul and drive of Alison's music but also give the songs a pleasing tapestry of sound colors.

This is a theme album, centering around love lost, heartbreak, disconnect. It is movingly direct in that sense, yet very melodically and harmonically alive, advanced, memorable.

Alison's voice is bell clear, warm and spot on, yet also has something very identifiable about it.

Alison has all the talent for success. I hope she achieves it! This album is a high note on the way to what I hope is a long and fruitful career.

Cinzia Spata Sings "Into the Moment": A Vocalist for Jazz Lovers

In jazz-vocalist-land sometimes it seems that there are those so intent on establishing their vocal credentials that they evoke the long gone voices of the greats more than they sing themselves and what is in the moment. The result sometimes is Billie, Ella, Sarah, and/or whoever heard as the equivalent of an image copied and recopied on a Xerox machine. Not very pretty always, and the sharpness of the original is lost.

Then there are vocalists like Cinzia Spata with her third record, Into the Moment (Koine). This is jazz singing for those who love jazz. First off, the ensemble is packed with first-rate players: Bruce Barth, piano, Dave Clark, acoustic bass, Yoron Israel, drums, Ken Cervenka, trumpet/fluegel and George Garzone on tenor. They are playing jazz, as you would expect. Barth is a full pianist that shows a Bill Evans lushness, a keen-ness of ear and good bopped linemaking. Cervenka has the burnished Wheeler-like sound. And George is George! Not to leave out the rhythm team. They cook.

Then she chooses songs that I, and I suspect others who dig the jazz more than the cabaret aspect of contemporary "club" vocalists, associate with the finest of the music. There's a beautiful rendition of Keith Jarrett's haunting "Questar," "My Favorite Things," songs by Steve Swallow, Ralph Towner, Wheeler, Waldron's "Soul Eyes," most with with Cinzia's new and appropriate lyrics. There's Mingus's "Duke's Sound of Love," and "Very Early," the Bill Evans perennial. There's a very nice Spata original, "Carlos," with room for good blowing. These are excellent songs, things you would love to hear vocalized (many not previously getting this treatment) and Cinzia doesn't just take them on, she does it with grace, facility, charm, and in musically pointed ways. "Tea For Two" even finds a new, refreshed existence here.

She is a vocalist who is a musician! And her voice carries all the baggage of the music without seeming to find it too heavy to bear. This is a VOICE, buddy. I'm finding that this one is climbing my mental list of jazz vocal releases to the top, one of the best of the year I think.

Charito's "Heal the World"

There are sorts of music that I am not especially predisposed to like. Like the one up today. It's some arranged, jazzed versions of Michael Jackson songs. Namely Charito's Heal the World (Soho 201104).

But it's good! Harvey Mason produced it, got some very good arrangers and instrumentalists together (like Hubert Laws, Azar Lawrence) and gave singer Charito an effective backdrop for her song interpretations.

And it works. Charito's voice comes on as sultry and powerfully projecting in alternation. The arrangements get the world-funk thing in there along with a cosmopolitan jazz/r&b flair. They are a joy to hear (seriously). It has what this sort of remake should have to work: a lingering look at the songs as songs, vocal artistry and arrangements that refresh the material and bring new life to it.

Jane Stuart, Vocalist, and "Don't Look Back"

Jane Stuart sounds a little bit like Lena Horn in her delivery. Not in some doppelganger sense. She has a poised vocal demeanor and the sort of alternate phrasings to songs and a smidgen of scat that puts her in the jazz category. Her backing band does the jazz thing too, with a little obligatto, especially from tenorman Frank Elmo. And there's the swinging countenance throughout. I should say that we are talking about her album Don't Look Back (Jane Stuart Music 002).

Song choice is interesting: standards like "I Didn't Know What Time It Was," and "Summertine" (which here in the northern hemisphere seems to be with us BTW, for those who keep indoors in climate controlled, boxy rooms). There are some interesting Jane Stuart originals. And then there are the modern standards like "Eleanor Rigby," "I'll Follow the Sun" and Stevie Wonder's "Bird of Beauty" as well as slightly more obscure things like David Frishberg's ironic, world-weary "Wheelers and Dealers." So it is a good mix.

Those are the basics. I should mention that guitarist Dave Striker does some appropriate accompaniment here and there. Rave Tesar plays some good post-Tyner style piano too.

It's a nice record from a singer that has style. It's a traditional sort of style. You like that, you'll like this. And so sit back and dig the tunes.

Pyeng Threadgill's "Portholes to A Love" Shows Artistic Depth

If I have not reviewed vocalist-songsmith Pyeng Threadgill's Portholes to A Love, Other Short Stories (self released, no cat #) until now, it was mainly a logistics situation. I did not have a copy until now. And I am glad I finally do!

I am glad because this, her third solo effort shows her artistry in its most developed state. Her voice is like no other and it is a most compelling instrument. Her songs are in the art realm. This is not pop, r&b, rock or what-have-you. It is art song with the serious demeanor and substance of jazz, with afro-funk-progressive musical clothing. Like a small number of her better-known elders, she takes the music in the air around her and transforms it into her own music. This is music that emerges from an internal conviction that this is what sounds right for her right now, and she bends the conventions of idiom to create a highly personal statement that goes beyond its roots, rather far beyond.

The lyrics tell of a personal journey through life experiences, a journey of growth in a time we all know has been a discouraging one on some levels and encouraging on others.

All this becomes grist to Pyeng Threadgill's mill.

I would hardly say this about some vocalists out there, but with Pyeng it is clear that she doesn't just sing. She has a total musical vision that is fully formed and comes across in her musically rich songwriting and arranging.

Pyeng is one original in a world where cloning is the norm. She is so original that it is not all that easy to describe that complex of "somethings" that make it so.

So I'll just say this: Portholes To A Love must not be missed by anyone who values original music. Categories mean little when the music goes beyond them. Ms. Threadgill does that, in ways that show she is an important voice, a masterful weaver of tale and tone, an artist for our todays and tomorrows.

Boris Savoldelli's Biocosmopolitan Hits the Streets

There are vocalists who prefer to create their own musical worlds rather than get stuck in the crosstown traffic snarls of mainstream rush hour. If they are good they bring us something new. If they are really good they can bring us joy.

Boris Savoldelli follows his own muse. And he is really good at it. The new album, his third I believe, is his best yet. Biocosmopolitan (MoonJune 037) is what happens when the vocal brilliance of a Bobby McFerrin, Brian Wilson, Peter Gabriel, or Imogen Heap are transformed to Boris Salvoldelli's very original vision of what can be. And he makes it so. You get 16 very compelling tracks plus a bonus video.

This is vocal ensemble music for the most part, made by multiple tracking. Paolo Fresu joins on trumpet or fluegelhorn on two tracks; bassist Jimmy Haslip joins in on one cut; Boris adds his piano here and there; otherwise it's all vocals. His is a voice of great range and an unmistakable sound. Even more so his vocal arrangements are breathtaking--sometimes as a full band of vocalized instruments, sometimes as a Boris choir that jumps out of your speakers and captures your ears; sometimes both. His part-singing conception works beautifully. And he writes some very nice songs too.

It's progressive jazz, it's prog rock, it's whatever you want to call it, doesn't matter. It's beautiful. Check out his vocal version of the Hendrix group in all its parts on "Crosstown Traffic" for starters. Then explore the many captivating originals. The artistry is way up there on the Grego-meter. No hype. This is how I feel. There is the joy of singing, the exuberance, the craziness, and the sheer artistry of Boris here in abundance. It will grab you, if you are like me. Highly recommended.

You need to hear this. Seriously.

Jenny Davis, Vocalist, and "Inside You"

I get a fairly large number of jazz vocalist's CDs to review every month. I cannot cover them all, especially since vocalists are only a part of what I try to address. So some get reviewed, but not all.

The new Jenny Davis CD Inside You (CRD 09) made the cut for a couple of reason. The obvious one is that she is a singer of poise. She has a pleasant instrument and she phrases nicely. The second reason is that Inside You is basically a Great American Songbook standards set, but not totally and not typically so. You get some nice versions of "When Your Lover Has Gone," "Green Dolphin Street," and "Softly (As in A Morning Sunrise)" but you also get some lesser-known songs like "Into Your Life Some Rain Must Fall," Jobim's "No More Blues," and contemporary songwriter Rodgers Grant's "Morning Glory." Not exactly typical also is Bird's "Confirmation" with added lyrics that work well, the Beatles' "Blackbird," and a rather attractive Jenny Davis original "Inside You."

Another salient feature on this one is the guitar work of Chuck Easton, who is omnipresent throughout, sometimes as the only accompanist. He plays a very solid chordal line and makes for a very good foil for Ms. Davis' vocalisms. When not the sole instrumentalist, Chuck joins with bassist Ted Enderle. Louis Aissen assists with tenor obbligato on one cut.

It is a most enjoyable journey into the heart of ten songs. Nice work.

Elisabeth Lohninger, Songs of Love and Destruction

How can you tell when a singer is a "jazz singer?" There are a number of factors, in any combination. A few: 1.) He or she "messes with" the tune, adding scat, rephrasing and/or recomposing part of the melody. 2.) The accompanying players play jazz type solos and/or accompaniment. 3.) The singer's repertoire includes songs associated with the jazz tradition.

Those are some key elements. Number one is probably indispensable; number two is important; number three is often the case, but does not define the situation. Things have changed in the last few decades, so there's no telling from the repertoire.

Let's turn, then, to a singer with a new CD out: Elisabeth Lohninger and her Songs of Love and Destruction (LoFish 079). The repertoire? Sure, she does some A. Songbook standards, like "No Moon at All," "Alone Together," those sorts of songs. But then she does Joni Mitchell's beautiful "River," K. D. Laing's "Save Me," the Beatles' "Here, There and Everywhere." She also does a couple of her originals. In short, she is not a cabaret jazz clone in terms of what she tackles.

The musicians? They have the jazz thing happening. Pianist Bruce Barth consistently gives forth with some nice solos and accompaniment; the rhythm teams sounds loose and on top of the styles evoked. There are guest soloists, Donny McCaslin sounding limber on tenor; there's also Christian Howes on violin; Ingrid Jensen on trumpet-fluegelhorn. All that is perfectly nice. But if the vocalist doesn't cut it, what does it matter?

Elisabeth scats well, phrases dramatically according to the impact of the lyrics and in the improvisational moment, one assumes. She has a very good instrument and can vary it with the music at hand. She seems a born musical storyteller. Now maybe that has nothing to do with the jazz part, but who cares? Is she the next Abbey Lincoln? Probably not. However this is a fine set with intimacy, well-heeled arrangements, and first-rate interpretations. She's good and also good to listen to.

Vocalist Peggy Duquesnel has Taste and Artistry

Jazz vocalists can make me grumpy. I get sent a fair number of new releases by such artists, and I must say it is the one category where the misses outweigh the hits by a good margin. Sometimes I can tell within about 30 seconds whether or not this person has any business getting behind a microphone; sometimes it takes a longer time. If they make it through the first listen, I usually keep on going.

Ms. Peggy Duquesnel made it through the first listen and four more. That is, her Summertime Lullaby album did, which will be out April 5th on Joyspring Music.

Why is Peggy D. worth your earful? She has a pretty, well developed set of vocal pipes, for one thing. Pitch control and phrasing are right where they should be. She writes some nice tunes, like the title cut. And her choice of standards suite her own vocal style. There are quite good versions of "The Days of Wine and Roses," and "Stay as Sweet as You Are," for example. Another thing: she plays a very decent piano, sometimes striding along, sometimes in a neo-swing style. She performs a few numbers for piano alone and they offer very pleasant going. And then there's Peggy's small band and her arrangements. They are fully integrated into the presentation and it all hits home. Guitarists Grant Geissman and Mike Higgins add some very good work, in solos, comping and in ensemble.

Peggy Duquesnel comes up with a winner in Summertime Lullaby. It has all the makings of a full throttle kicker for you, the listener. There's enough for the sophisticated listener to maintain interest, and yet it should be well received by the general pool of folks who want something enjoyable to hear in the course of their leisure and relaxation.

Frank Senior and His Relaxed Vocalisms

Originally posted on October 16, 2008

The world of the jazz singer is in many ways declining. The mainstream of music, from which artists emerge, has changed radically. Hip hop, rap, and rock are not necessarily fertile grounds on which singers can develop. Each music has different goals that do not have a great deal in common with the jazz vocalist and his or her art.

Jazz singers look to a body of repertoire generally of previous generations—songs associated with the traditional jazz repertoire but mostly initially a part of Broadway and the hit parade of a long time ago. “The Great American Songbook” is what it is usually called. Now these songs can be absolutely great. But what do you do if you are singer number 200,000 tackling “Autumn Leaves?” What do you bring to it? Often singers are faced with insurmountable challenges in trying to make it fresh. Some develop mannerisms, ending up with the equivalent of musical ticks, to give that old song more jazz inflection. And sometimes these are musical clichés that were hackneyed 30 years ago and sound even more trite today. The results can be painful, and you have to feel sorry for some of these folks. What can they do? The situation can best be described by the phrase “many are called, few have the talent to answer.” Yes, and there are those that have managed to overcome the inertia built into the scene and go on to thrive in various ways.

Here’s one solution. With the CD under consideration today, Frank Senior [Listening in the Dark (Smalls)] takes a sample of the standard songs and simply treats them as old friends, singing straightforwardly without affectation. He has a casual, relaxed approach and his wide ranging baritone-and-above voice really is very appealing. Like Brook Benton in the r&b/popular field before him, he succeeds by not trying too hard and letting it fall where it lies.

He’s playing with a fine set of musicians tuned to the occasion, the under-heralded Bob Mover on winds, for example, and a tasteful guitarist named Saul Rubin. Plus the songs are a good mix, not just the expected chestnuts. “Route 66” works well, and he also finds inspiration in such songs as “Autumn Serenade” (a right song for the season, no?) and “Just You, Just Me.” He’s simply good. And he deserves to be heard by those with the inclination to hear this sort of thing. They will be rewarded with a very nice CD, very nice indeed.