Rewriting the rulebook
Cécile Mclorin Salvant’s Ghost Song goes its own way with extraordinary eclecticism
Cécile Mclorin Salvant
Ghost Song Cécile Mclorin Salvant (voice, piano), Paul Sikivie (electric and acoustic bass, synth) et al Nonesuch 75597914672
It’s always a good sign when an album demands such an all-encompassing review that it’s hard to know where to begin. When interviewed in these pages not long ago, Salvant was cheerfully anticipating her Nonesuch debut, alluding to its eclectic nature as a manifestation of her inner eccentricity with a mixture of delight and something akin to self-revelation tempered with mystery. Yes, it really is as complex at that, but in a very good way: you don’t argue with someone who mixes originals with Kate Bush and Gregory Porter covers (for example) on an album that also largely chucks conventional jazz instrumentation out of the window while nevertheless rehabilitating the banjo. This set features everything from theatrical and folk elements to the kind of rapid-fire Sprechstimme pithiness associated with Garfunkel and Oates (search Youtube), yet its overall themes – relationships, love, loss, how we deal with their attendant emotional states – are handled with clarity and conviction. An extraordinary piece of work. ★★★★★
This is one of those months when every release selected really deserves the ‘Jazz Choice’ slot, a proposition that becomes even more interesting given that one contender is actually a reggae album, but bear with me here. Cleveland Watkiss is a man of many parts, one of which is that of a phenomenal jazz singer, but here he presents music grown from alternative roots. The Great Jamaican Songbook Vol. 1 offers a set of classic tunes that draws on the work of a who’s who of reggae legends, ranging from Gregory Isaacs to King Tubby and Lee ‘Scratch’ Perry, but jazz listeners will be drawn in by the arrangements and vocal delivery, both of which connect the source material to a clearly-defined jazz sensibility (you’ll know it when you hear it). The implication that there’s more to come is heartening and the singer’s label name is the best ever. (Cdubya CDUB1) ★★★★★
‘Cdubya’s’ many and varied associates include the fine pianist Robert Mitchell, whose inspired duo with cellist Shirley Smart has resulted in Zeitgeist2 (sic). The album probably counts as chamber jazz of a sort, although it manages to be both profound and gently witty on its own terms, too. Mitchell’s precise, crisp playing provides an ideal contrast to Smart’s lyrical and occasionally yearning cello lines, although the duo isn’t afraid to have fun with a boogie riff here and a walking bassline there. A fine example of interplay between two very articulate musicians that comes highly recommended, as does the Discus label in general with its impressive catalogue of fearless leftfieldery. (Discus 116CD) ★★★★★
12 Stars (a title inspired by tarot) marks the signing to Blue Note of Chilean saxophonist and founder member of the much-lauded Artemis collective Melissa Aldana.
This album sees her fronting her current quintet and tends toward personal and general introspection, reflecting as it does the events of the past couple of years. Aldana never confuses introspection with introversion, however, gliding with natural ease from warm intimacy to a fluidity that traverses bebop-to-free with confidence.
Her empathetic band (essentially a perfectly elastic four-piece rhythm section, which suits her approach well) knows exactly where she’s coming from. (Blue Note B003459602) ★★★★★
Back to Back from Zaitz & Kavuma is an interesting instrumental switch for both Artie (usually guitar, here on organ) and Mark (trumpet, here on piano) respectively.
It’s a joy to be reminded just how well these two instruments work together, as apart from both being keyboard instruments they are of course entirely unlike each other (and Kavuma also picks up a horn occasionally to add a little seasoning). This music is all about mutual engagement and the two protagonists tackle the project with obvious relish. Utterly excellent stuff. (Banger Factory BF003) ★★★★★
Last but by no means least, Jacob’s Ladder sees Brad Mehldau going into fusion mode, which contrasts nicely with his recent solo and orchestral offerings. As with the artists mentioned above he also embraces multiinstrumentalism here, deploying a range of electronic keyboards alongside his piano in a celebration of the progressive rock that informed his early years. It’s a spirited and lively undertaking, involving collaborators that include this month’s Jazz Choice artist. (Nonesuch 75597913460) ★★★★★