If ever a record label matched (in name) the artistry of its talent, it’s Obliq Sound when it comes to Gretchen Parlato. And if modern jazz singing is all about using the voice as an instrument, Parlato has put her instrument front and center, not with free improvisation and intervallic gymnastics, but with a restrained palette and the power of suggestion. When I think of Parlato, I don’t hear Charlie Parker; I hear Miles Davis.  

Winner of the 2004 Thelonious Monk Vocal Competition, Gretchen Parlato has quickly evolved a sound based largely on nuance and subtlety, appealing as much to Brazilian, R&B and pop audiences as to modern jazz listeners.  On her third release, she offers an eclectic soundscape of 15 songs, four of her own compositions, 6 more with her own lyrics (including her take on Wayne Shorter’s “Juju”). Her band fits her musical attitude perfectly—Taylor Eigsti, himself a young phenom on keyboards; much accomplished Derrick Hodge on bass; another young upstart, Kendrick Scott, on drums; with guest turns from saxophonist Danya Stephens, guitarist Alan Hampton (who contributes “Still”), and co-producer/keyboardist Robert Glasper (who contributes “A Dream Remix”). 

Despite the diversity of source material, Parlato’s airy delivery provides a consistent sonic transparency from one track to the next, from the wispy opening cover of Simply Red’s “Holding Back the Years” to the ambient closing of Eigsti’s “Without a Sound.” In between, her vocalese soars in tandem with Stephens’s sax on “Juju, reaching its most haunting edges on Ambrose Akinmisure’s “Henya;” her whispering echoes create a celestial fantasy of Glasper’s “A Dream Remix.” Her swaying acappella vocal/percussion performance on Paulinho da Viola’s “Alo Alo” (sung in Portuguese) and charming vocal duo with composer Alan Hampton on “Still” are other high points.  

While Parlato sails on waves of impressionism, she’s buoyed by the more assertive finesse of her band, particularly Taylor Eigsti who sparkles on “Winter Wind” and “Blue and Green” and, most exquisitely, on “Henya,” while Hodge and Scott provide the soul and heartbeat throughout. 

The CD package comes with the full set of lyrics for all 15 tracks, a welcome addition that confirms (my) suspicion that Gretchen Parlato’s success may lie as much in her poetry as in her vocal stylings. The Lost and Found highlights both talents. 

In the musical world of “sure” things, one has to count the songs of Sammy Cahn and the voice of Dionne Warwick. So, what would happen if Dionne Warwick recorded an album drawn from the Sammy Cahn songbook? Celebrating 50 years as one of America’s most lauded singers, Warwick has released her first contemporary jazz collection, Only Trust Your Heart. And you need only trust your ear – despite her 70 years, her five decades of performing and recording in the pop, soul and R&B veins, Dionne still possesses one of the most emotive voices in American music. She can still move you with a sigh, with a whisper, with phrasing that transcends genre.  

Drawing on songs associated with Frank Sinatra, Dionne selected 11 of Cahn’s most engaging melodies and two from Jack Wolf and his collaborations with Sinatra (“I’m a Fool to Want You”) and Burt Bacharach—of course a significant figure in Warwick’s early career (“Keep Me in Mind”). And this is not Warwick’s first jazzified effort. Sarah Vaughn was a family friend and significant influence; she performed with Count Basie, Joe Williams and Duke Ellington; regarded Lena Horne as a mentor; and appeared on a CBS special featuring an allstar list of jazz artists. A Cole Porter album for Clive Davis’s Arista label was deemed “too jazzy” and was re-recorded before release back in 1990. Maybe Only Trust Your Heart is Dionne’s redemption. 

For the most part, the arrangements rely on a core ensemble of pianist Raymond Angry, bassists Adam Blackstone and Neil Jason, and drummer Cindy Blackman Santana, with additional horns and strings extending the sonic backdrop on some tracks. But it is that small ensemble support that helps Dionne kickoff the recording and title tune with a warm tropical swing—she spends significant time in Brazil these days and there’s a definite air of samba, while “You I Love” lilts with big band sunshine. Some songs, like “Wonder Why,” might give us pause to “wonder why” Warwick is not known as a jazz diva, her phrasing, her note and rhythmic choices all on par with the great songbook interpreters. But then we get to “Keep Me in Mind,” and quickly recall those great R&B and soul hits of the 60s, and just wonder at the longevity, the consistency of that voice, the storyteller who puts so much of her life into every note. 

Maybe she saves the best for last, a simple arrangement of “Pocketful of Miracles” with just pianist Raymond Angry, her voice now a deeper bronze, maybe a bit more conversational, every bit as straight-to-the-heart as ever. Is Dionne Warwick really a jazz singer? Not that it matters, but at least on Only Trust Your Heart, she rises above each melody and lyric to create her own message, in her own musical language. Call it jazz, or just call it Dionne Warwick.

Native Soul is a quartet of dedicated musician friends who have all worked together and garnered many individual credits as well.  Coming together about six years ago, their strengths lie in the skills of each musician as composer.  The diversity in their writing styles contributes to their distinctive sound, covering Brazilian, Afro-Cuban and straight-ahead jazz. In addition, they all are interested in electric instruments and explore these in some of the numbers on this CD. Their playing together is effortless and it’s always a “great hang.” 

Gifted young pianist Noah Haidu (piano/keyboards) was instrumental in bringing the group together, which includes super saxophonist (tenor/soprano/flute) Peter Brainin, veteran bassist (acoustic/electric) Marcus McLaurine, and dynamic, ever-so-swinging drummer, Steve Johns.  I have to say, these guys play spectacularly well!   

The lead number and title tune, written by Haidu, is riveting.  “The End of a Love Affair,” by Edward Redding, marks a great arrangement by Haidu and is splendid listening.  “Slipstream” is another creation by Haidu and flies along at a nice up-tempo pace.  Branin graces the tune with his soprano sax, then gives way to some fine piano soloing from Haidu.  Johns plays some nice eight-bar breaks.  Brainin’s “Talking Drum” reflects an important tenet of this ensemble, that the feeling and groove always take precedence above all else, and it does show constantly in all of their playing.  Bassist McLaurine composed “One for OP” (the great Oscar Peterson), a very mellow concoction and a bluesy, exploratory gem.  Drummer Johns wrote a pretty selection, “Into the Night.”  Brainin does excellent work with his flute on this peaceful ballad. 

This collection of eleven tunes played by these fine musicians is superb.  This is a CD to listen to over and over.  To purchase see: www.amazon.com.  
 

Pre-published with permission from L.A. Jazz Scene, May 2011.