Obsession - Tessa Souter (Motema) - This is vocalist Souter's 3rd release but only the first I've heard. An interesting collection of tunes, from 60s “rock hits" to sweet Brazilian melodies to re-imagined jazz standards and, basically, a quartet of musicians backing Souter's handsome vocalizing. And, it does sound like a group effort - guitarist Jason Ennis (Charles Neville Band, Sonya Kitchell Group) is an excellent second voice, a perfect match for Souter's explorations. His love of Brazilian melodies and rhythms is obvious in his work. The rhythm section of Gary Wang (bass) and Conor Meehan (drums) is subtle, expansive without being intrusive. Accordionist Victor Prieto appears on 6 of the 12 cuts, adding colors to the rich tableaux.
One has to admire Souter's bravado by opening the program with “Eleanor Rigby“ and “Riverman." The Lennon-McCartney tune, here, is haunting, especially with violinist Todd Reynolds softly keening in the background and the impassioned vocal. The oft-recorded Nick Drake tune that follows has a lovely melody and Prieto contributes a very jazzy solo in the midst of the modal exploration. But, it's the impressive “White Room“ that truly stands out. Ennis takes the Jack Bruce melody and gives it a hard percussive edge while Souter actually makes Peter Brown's haiku-like lyrics sound sensible. While the original version by Cream seemed to slog along, this version is exciting, sensual, and satisfying.
Other highlights include the smart coupling of “Afro Blue“ with Wayne Shorter's “Footprints“ (more strong guitar work from Ennis) and “Nara's Song." For the latter tune, Souter takes Freddie Hubbard's “Little Sunflower“ and adds her lyrics. Ennis's articulate guitar rides atop the simple yet propulsive rhythm section. Milton Nascimento's “Vera Cruz/Empty Faces“ is, perhaps, the smartest integration of voice and instruments on the recording, the guitar and accordion moving in and out of the mix, Meehan's Brazilian parade drums pushing the piece forward, Souter's voice on top or beneath the musicians - really exemplary emotion and execution.
Only 2 of the 12 tracks exceed 5 minutes yet there is so much to absorb. One can easily get lost in Souter's rich alto vocals, her long tones rising and falling above Ennis's sparkling guitar. Souter does not get caught up in “showing off"; the lyrics are important in every song and she makes sure the listeners hears them. And, though one may heard these songs many times before in their original versions or on remakes, here they seem fresh and, in some instances, refreshed. Sounds beautiful and is beautiful, “Obsession“ is worth exploring. For more information, go to motema.com or tessasouter.com/.
Labyrinth - Jacam Manricks (Manricks Music) - The Australian-born composer/arranger/multi-reed player Jacam Manricks has created a very interesting new recording that features a top-notch ensemble and a group of fascinating compositions. Manricks takes a lot of space in the liner notes to explain the influences behind the pieces but you do not to understand “music talk" to enjoy this CD.
Manricks plays alto and soprano saxophones, flute and alto flute and clarinet and bass clarinet (and one cut has him doubling on shells) with a quartet featuring Ben Monder (guitars), Jacob Sacks (piano), Thomas Morgan (acoustic bass) and Tyshawn Sorey (drums.) 2 of the 8 tracks add a 7-person string section as well as a French horn player. Manricks' tart tone on alto is reminiscent of Steve Lehman and there's a density to some of his melody lines that resembles Lehman's melodic style. Yet, there's the airy blend of strings and the quintet (Manricks overdubs flute and clarinet on this track) that stands out on “Micro-Gravity." The lines he writes for Monder allow to the guitarist to move above the ensemble (note Sorey's impressive snare drum work.) His acoustic guitar meshes well with the soprano sax on “Move“, building upon Sacks' piano lines early in the piece. The pianist's solo is deliberate, contemplative, and peaceful. Whereas, on his solo during “Cloisters“, Sacks really let loose and follows his muse.
The “chamber orchestra" returns on “March and Combat“, a work influenced by Ravel, Gil Evans, and, to this reviewer's ears, Wayne Shorter (in the open quality of the song's structure and the movement of the rhythm section throughout the second half.) Sorey's work is vital, his drive and fire allowing Morgan's bass to serve as counterpoint to Sacks' chordal work. The quiet close to the program, “Rothko“, is an exercise in restraint and, like the artist the piece is dedicated to (read here), a work that is complex, subtle and open to interpretation.
“Labyrinth“ grows on the listener with repeated listenings. One has to let prejudices and expectations go and enter the music with mind and ears wide open. Once you do, you are likely to be seduced by its beauty, its strength and promise. When you return to the music, concentrate on the solos. Listen to the leader's interaction with Monder, how they shape their individual voices to the mood and shape of each piece, and how the rhythm section makes the music flow. Enter this labyrinth and listen; if you do, the music becomes clear. To find out more, go to jacammanricks.com/.
