If I were looking for one word to describe “Little Emmanuel," I think I'd go with “seductive." Not in some cheesy Marilyn Monroe or “Santa Baby" sense, but in the sense that I defy anyone to listen to this four song EP—actually listen to it—and not come away completely in love with it. Like any good seduction, it comes upon you with subtlety and tender patience. This EP works as well as it does not just because of the singing voice of Jessie Kol, which radiates a kind of purity and delicate clarity, but also because great care has been taken in the arrangements and the production and because the supporting musicians are all more than equal to the task at hand.
Born in Washington DC in 1991, Jessie Kol grew up in Raleigh, NC where she found herself singing at a very young age. No sooner had she entered her teens then she was recording demos for friends and family as “Christmas gifts." Now embarking on her professional career, Jessie's debut EP was released last October and it turned out to be an iTunes hit. Like so many young female artists, Jessie's been compared to Norah Jones. But, for once, it actually fits.
Jessie's chosen milieu is Jazz, at least for the moment. But, like Norah Jones, Jessie's not content to limit herself musically. For this Christmas record, she chose Johnson Roberts for the arrangements and to co-produce the album. Roberts is a well known arranger, but his specialty has been Appalachian music. Jessie listened to Roberts' past arrangements and decided that his rural approach would bring new elements to her Jazz vocals. The result is a kind of lush simplicity, the product of a four-piece setting—piano, violin, cello and hammered dulcimer—behind Jessie's vocals.
When you have only four selections, you have to make them count. And Jessie does. The EP opens with “In The Bleak Midwinter," not often a scintillating selection. Jessie and the musicians make the song shimmer, like a lake at sunrise. The approach is direct, but understanding. The piano of Jason Webb is especially sparkling here, and the violin playing of Johnson Roberts is truly beautiful. As throughout the EP, the subtle touches added by the hammered dulcimer are also key to wrenching every last bit of beauty from this traditional carol.
“Merry Christmas Darling" is done up as a Jazz number. And, for the most part, it's the least remarkable track on the EP. But it is here that you begin to notice just how skilled and talented a singer Jessie is. She demonstrates this without vocal gymnastics or flash of any kind. She simply hits every note precisely with exactly the tone and pitch that is required or called for. This is kind of a difficult concept to convey, I think, unless you've spent some time with musicians (and singers in particular). So I'll just say that Jessie demonstrates uncanny instinct and feel for one so young; she's not following the musicians, she's anticipating them. And she's not off somewhere trying to be cute by holding a note excessively or purposely dropping one in late which is what passes for Jazz singing among some less polished and confident performers.
Next up is the title track. And here we are treated to an even greater example of Jessie's vocal talents. Here, Jessie's instrument is on full display. And, as the cello of Clara Slaybaugh engages in a bit of a ribbon dance with Jessie's vocals, you are now totally submersed in a new and beautiful world of aural perfection. The seduction is almost complete.
I've heard some truly outstanding versions of “Away In A Manger" this year, but this rises above them all. This final track opens with Jason Webb's wonderful piano once again. When the cello and violin join in, it is, in effect, a full overture. And then Jessie starts to sing. And, by now, you are completely under her spell. You can actually taste the sounds as they flow through the speakers. Jessie and arranger Johnson Roberts pull hitherto unknown textures out of this ancient carol. Then, all too soon, it's at an end. A word of warning. Be careful what you put on following this disc; much of the holiday music out there, even some very good stuff, is likely to come off as a real buzz kill. In fact, I'd suggest listening to this EP a second time and then taking a break for a bit before attempting another album.
Look, I know I sound almost comically over the top about this EP. It's completely sincere. Still, let's just take it down a bit and say... This is a really fine effort from Jessie Kol and I recommend it highly. But just listen to “Little Emmanuel" and then try to tell me you didn't love it. Because I'm guessing you'll be seduced, too.
Don't forget to pick up “In The Bleak Midwinter" free at Jessie's website. The full EP will be available through iTunes beginning November 16.
Martin Johns (Stubby's House of Christmas), November 8, 2010
Born in Washington DC in 1991, Jessie Kol grew up in Raleigh, NC where she found herself singing at a very young age. No sooner had she entered her teens then she was recording demos for friends and family as “Christmas gifts." Now embarking on her professional career, Jessie's debut EP was released last October and it turned out to be an iTunes hit. Like so many young female artists, Jessie's been compared to Norah Jones. But, for once, it actually fits.
Jessie's chosen milieu is Jazz, at least for the moment. But, like Norah Jones, Jessie's not content to limit herself musically. For this Christmas record, she chose Johnson Roberts for the arrangements and to co-produce the album. Roberts is a well known arranger, but his specialty has been Appalachian music. Jessie listened to Roberts' past arrangements and decided that his rural approach would bring new elements to her Jazz vocals. The result is a kind of lush simplicity, the product of a four-piece setting—piano, violin, cello and hammered dulcimer—behind Jessie's vocals.
When you have only four selections, you have to make them count. And Jessie does. The EP opens with “In The Bleak Midwinter," not often a scintillating selection. Jessie and the musicians make the song shimmer, like a lake at sunrise. The approach is direct, but understanding. The piano of Jason Webb is especially sparkling here, and the violin playing of Johnson Roberts is truly beautiful. As throughout the EP, the subtle touches added by the hammered dulcimer are also key to wrenching every last bit of beauty from this traditional carol.
“Merry Christmas Darling" is done up as a Jazz number. And, for the most part, it's the least remarkable track on the EP. But it is here that you begin to notice just how skilled and talented a singer Jessie is. She demonstrates this without vocal gymnastics or flash of any kind. She simply hits every note precisely with exactly the tone and pitch that is required or called for. This is kind of a difficult concept to convey, I think, unless you've spent some time with musicians (and singers in particular). So I'll just say that Jessie demonstrates uncanny instinct and feel for one so young; she's not following the musicians, she's anticipating them. And she's not off somewhere trying to be cute by holding a note excessively or purposely dropping one in late which is what passes for Jazz singing among some less polished and confident performers.
Next up is the title track. And here we are treated to an even greater example of Jessie's vocal talents. Here, Jessie's instrument is on full display. And, as the cello of Clara Slaybaugh engages in a bit of a ribbon dance with Jessie's vocals, you are now totally submersed in a new and beautiful world of aural perfection. The seduction is almost complete.
I've heard some truly outstanding versions of “Away In A Manger" this year, but this rises above them all. This final track opens with Jason Webb's wonderful piano once again. When the cello and violin join in, it is, in effect, a full overture. And then Jessie starts to sing. And, by now, you are completely under her spell. You can actually taste the sounds as they flow through the speakers. Jessie and arranger Johnson Roberts pull hitherto unknown textures out of this ancient carol. Then, all too soon, it's at an end. A word of warning. Be careful what you put on following this disc; much of the holiday music out there, even some very good stuff, is likely to come off as a real buzz kill. In fact, I'd suggest listening to this EP a second time and then taking a break for a bit before attempting another album.
Look, I know I sound almost comically over the top about this EP. It's completely sincere. Still, let's just take it down a bit and say... This is a really fine effort from Jessie Kol and I recommend it highly. But just listen to “Little Emmanuel" and then try to tell me you didn't love it. Because I'm guessing you'll be seduced, too.
Don't forget to pick up “In The Bleak Midwinter" free at Jessie's website. The full EP will be available through iTunes beginning November 16.
Martin Johns (Stubby's House of Christmas), November 8, 2010
