Past Reviews Sound Advice Reviews Three songwriter sets, Three Heartfelt vocal sets |
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Let's start with three releases bringing attention to songwriters–namely David Shire (sung by John Minnock), Chuck Owen (leading his own band), and Sammy Cahn (Jeff Harnar's revised/expanded album). That Harnar project shares one number with one of three female vocalists releasing solo projects with the word "Heart" in the title. That's Rosemary Loar; the others are Jacqui Naylor and Andy James. And after those three, some words about an EP from T.3.
The work of composer David Shire shines brightly in the warm spotlight it's given on a recently issued collection with the vocals of John Minnock. And getting plenty of caring attention, too, thanks to involved and thoughtful phrasing, are the lyrics. The uber-romantic words to the lush "With You I'm Born Again," which were "born" in one of the many Shire-scored movies (Fast Break from 1979) are by Carol Connors. It appears twice on this set. First it's a duet with dulcet-toned Deborah Lippmann (her name, unfortunately, does not appear on the packaging of the CD) and shows up again to close the program, as an instrumental bonus track with the composer himself guesting at the piano, joined by the album's wonderful alto sax player, Dave Liebman. The latter was part of all three of the prior Minnock releases; the three men share production credits for this engaging outing. Three songs have Mr. Shire's own words. One, "After All These Years" appeared on an earlier set by the singer, but this is a different version, with just the splendid pianist Sean Mason accompanying. The others, recorded here for the first time, are the sprightly, smile-inducing "Only Jazz" and A Different Riff's feisty title number. The remaining six selections all have lyrics by Richard Maltby, Jr. "I Don't Remember Christmas" isn't delivered with its typical ire (or fire); resentment and denial are less dominant than dolefulness. A reflective, relaxed "Starting Here, Starting Now" is more delicate, too, allowing for an airy vocal sound with a pleasing vibrato and tinkling, tip-toeing piano and moody sax weaving in and out. The band is completed by drummer Pablo Eluchans and bassist Mark Lewandowski, the latter aptly showcased on the pun-intentional "Back on Base." Sadly, this is a posthumous release; John Minnock passed away in February. Accomplished and smart, it's a recommended epitaph.
The gracious and grateful liner notes penned by composer/bandleader Chuck Owen for the collection called Magic Light start this way: "All composers are utterly dependent upon the talented musicians who interpret and perform their works. In jazz, however, the composer (at least the smart jazz composer!) seeks to surround him or herself with artists that go beyond simply realizing the notes on the page, imbuing the music with their own sensibilities." He has certainly surrounded himself with some fine musicians to do that with his appealing and colorful work here, in addition to his own playing (keyboards, accordion and hammered dulcimer) which is splendid but not at all dominating. They are violinist Sara Caswell, sax man Jack Wilkins, guitarist Corey Christiansen, and bassist Mark Neuenschwander, with drum duties shared by Danny Gottlieb and Matt Wilson. All except Wilson have been in the Owens musical congregations before, in his larger ensemble called Jazz Surge. (Calling this group ReSurgence is a noted play on words.) There are eight pieces, all clocking in on the long side, with timings ranging from well over five minutes to almost 11 minutes. While not outwardly similar to the theatre music or jazz standards we typically survey in this column, the Owens melodies are gloriously atmospheric, sometimes majestic or sweeping, sometimes ethereal or contemplative. I sought out Magic Light when I read that five of the selections feature a singer I especially admire: Kate McGarry. If performers with striking voices strike your fancy, too, that might be your entry point; come for the vocals, stay for the intriguing instrumentals. (I did.) Interestingly, after nine releases as leader (beginning in 1996), this is the first for which Mr. Owens wrote lyrics, fitting some to instrumental pieces recorded on other sets. The words are artful and yet natural. I especially like the nostalgic portrait of early years living in "Omaha," recalling "moments that will never fade/ I'd never trade" with the specific mentions of "endless cornfields," childhood purchases when one's "allowance went for baseball cards," and places since torn down. "Rise Up" references the Statue of Liberty and borrows some of the words of the famous sonnet on its pedestal. Kate McGarry imbues words and their melodic lines with rich emotions and becomes an admiring narrator describing the movements of a photographer patiently seeking the time of "Magic Light" when the sun's glow is ideal. She also illuminates the outlier non-Owens piece, "Spinning Wheel," the rock hit by the group Blood, Sweat & Tears (1968). The violin playing is exquisitely tender in some spots, vigorous in others. There's variety in the soundscape, as the various band members' contributions change from spare to power surges of ReSurgence.
A mix of new and déjà vu is the case as vocalist Jeff Harnar turns his attention all the way to (and all the wall back to) the oeuvre of lyricist Sammy Cahn. Tracks from a 2001 release got re-mixed, rethought or replaced and new ones have been added, three of those with guest singing partners. Leading the musicians is Alex Rybeck, the cabaret crooner's decades-long pianist/ musical director/ collaborating arranger, enhancing the potent potpourri. Everything shines–because it's polished. The very entertaining collection is now aptly named Jeff Harnar Sings Sammy Cahn The Second Time Around and–you guessed it–that's also a nod to the inclusion of that 1960 song that he didn't get around to the first time around. Like many other items here, "The Second Time Around" has music by Jimmy Van Heusen. That fruitful collaboration is also represented in almost all the additions: The lament "I'll Only Miss Her When I Think of Her," about lingering memories of a departed romantic partner, had been part of the 2001 collection, keeping those original female pronouns in the lyric, as written for the Broadway musical Skyscraper, but the poignant re-recording replaces them with male pronouns. For a lively mix-and-match combo of "I Like to Lead When I Dance" and "Come Dance with Me," Clint Holmes steps in for a fun mixing and match-up as they solo and duet. Jazz singer Nicole Zuraitis is on board to share the Cahn/Van Heusen "Come Fly with Me" and indeed soars with some swaths of scat-singing. MOIPEI, the singing sisters (they're triplets!), are spot-on casting to share the spotlight for the peppy number that was a trademark for The Andrews Sisters: "Bei Mir Bist du Schön" (a Yiddish song from the 1930s for which Cahn wrote English words). The numbers with guests make the collection more like a party. However, even in the original release, there was a pretty good balance of moods and tempi, alternating between Jeff the Jaunty and Harnar the Heartfelt. The latter mode is certainly a strong suit for the sincere balladeer persona, showcased in retained selections such as those with Jule Styne melodies. Those include a few featured in a longish longing and loneliness-themed medley, "I Fall in Love Too Easily." One can easily fall in love with the "Cahn-tent" of this set.
"I Fall in Love Too Easily," introduced 80 years ago, and "Fascinating Rhythm," by the Gershwins 100 years ago are the two oldest selections in the eclectic program on singer Rosemary Loar's new release, but she makes everything sound fresh and contemporary. She and pianist/co-arranger Frank Ponzio (here with a few other musicians) bring their own fascinating rhythms or take their sweet time, languishing in languid tempi. They rethink the show tune "Show Me" (My Fair Lady) and suggest a different story for West Side Story's "Cool" so its "take it slow" request might well be addressed to an over-eager lover rushing things. Affairs of the heart are on the agenda, with the word "heart" coming up in three languages: in Portuguese, in the bossa nova title song of Coraçao Vagabundo/ Vagabond Heart; in French in Sting's "La Belle Dame Sans Regrets" with the line "Tu brises mon coeur" ("You break my heart"); and in English when she sings "You Taught My Heart to Sing." The performer has often presented numbers with her own music and words on earlier albums and listeners can explore four more Loar originals this time. They focus on the doubts, disappointments, hopes, hesitations, and risks in romantic relationships. These are thoughtful considerations about connections that aren't always smooth sailing, whether it's about challenging someone to be honest about expressing feelings after she's done so first ("It's Your Turn to Be Brave"), wary of what might be felt or foreseen ("I Don't Want to Know for Sure"), or accepting that a perceived match was, alas, "Just a Fairy Tale." The points and positions are made clear early on, so that too much repetition of lyrics may feel unnecessary and anti-climactic. Rosemary Loar, who also has many acting credits (including Broadway and regional theatre), takes personalized, intimate approaches to material so we can picture not just her attitude-specific character, but the person she's singing about or singing to, too. Her vocals can be gentle or piquant, her attitude can be playful or direct. The timbre is attractive, but her sound here is not in the big, belting, throbbing style. Most compelling is when her voice ascends into the stratosphere in a controlled, other-worldly way, reminiscent of the heights reached by the marvelous jazz stylist Morgana King. But not a copycat in any way is this lady who forges her own path. This recording, along with her numerous earlier ones, is available at her website. RosemaryLoar.com.
I guess it would be quite the understatement to posit that Andy James is a romantic at heart. Whether sultry or sulky, purring or pouring on the passion, she shows a lot of heart on her mostly cozy and cuddly Let Me See Your Heart. She's patiently pleading on "Let's Try," proclaiming "When you're near, it fills my heart with joy." Considering the extremes of "All Or Nothing at All," she asks to avoid an entanglement "if your heart never could yield to me" because "my heart may grow dizzy and fall." Memories of younger days cued by looking at a "Photograph" prompt the perspective "Now I see our hearts were children then/ So brave and innocent." Then there's the gem from South Pacific about that island "Bali Ha'i" ("In your heart you'll hear it call you") and the theory that "For Every Man There's a Woman," which tells that "for every heart there's a moment." And the goal is "to win that loving heart" on Let Me See Your Heart's title song. You get the idea. The various selections on Let Me See Your Heart boast a total of 20 musicians. Two repertoire choices feature the classy combination of Michel Legrand's elegant melodies and the lyrics of Marilyn and Alan Bergman: the heartbreak of "I Will Say Goodbye" and the metaphysical-leaning "I Was Born in Love with You." A jazz classic, the word-packed "Take Five," does take a different path and true change of pace (although it doesn't serve as respite from the rides through earnest romance if you listen in track order because it's the first one). Three numbers that start with the same verb ("Let Me See Your Heart," "Let's Try" and "Let's Talk of Love") were written by the singer along with others, including Piero Pata, her partner in producing (running the El Coq record label) and marriage. Andy James paints the various colors of love, including a parent's love in "Danny Boy" and fondness for a city with Billy Joel's "New York State of Mind." But mostly she's in a state of bliss.
With her distinctive, husky low voice that can sound a bit like a gritty growl, world-weary muttering, or a muted jazz horn, Jacqui Naylor projects someone forceful and fortitudinous. While she may not be unabashedly wearing her heart on her sleeve throughout Treasures of the Heart, she's not quite encased in an emotionally bullet-proof vest either. The unsentimental persona and the muscular musical accompaniment may seem to be at odds with the on-the-surface sensitive, sweet or serene lyrics she often sings. However, that can make the odd coupling compelling and certainly prevents her from coming off as delicate or demure. Ten of the program's 14 selections, some about relationships or positive attitudes, are pieces she co-wrote with Art Khu, who is on keyboards and guitars. He's the arranger and they, musical and marital mates for years, co-produced the set. It also features bassist Richie Goods, percussionist Ele Howell and, on trumpet and flugelhorn, Erik Jekabson. All these skilled musicians get to shine in the energized passages. While there isn't a huge variety in tempo–there's nothing lugubriously snail-paced or perky–musical personalities have some variety, stylistically redolent of blues, mellow pop, funky R&B, and Latin. Several of the Naylor/Khu originals address life and romance in an optimistic, open-hearted way on Treasures of the Heart ("Love's Around," "Love in Springtime," "You're the One for Me") and another, "Picture Book of You," was created at the request of a fan as a valentine to his wife, offering a list of her endearing qualities. Another piece is an effectively supportive entreaty to "Hold On" during tough times. The welcome covers sprinkled through come from four different decades. They are: a caffeinated take on Rodgers & Hart's "I Didn't Know What Time It Was"; the Bacharach/David "This Guy's in Love with You" (sung sans a gender replacement for the word "guy"); "Lovely Day" by Bill Withers (with a tiny cameo of the bridge of "Over the Rainbow" sneaking in); and the Cyndi Lauper hit "True Colors." Those looking for a non-mawkish, mature M.O. when it comes to considering love and life may treasure–or at least, take to heart–Treasures of the Heart.
Option Up, an EP by T.3, a trio of male singers, has a moving rendition of "Bring Him Home" from Les Misérables. This earnest and lovely treatment of the musical theatre prayer is poignant, enhanced by the harmonies. Another plus for musical theatre fans is the participation of performers from that world–Shoshana Bean, Morgan James and Aisha Jackson–for a deep dive into Disney. Mostly drawn from animated movies of recent decades, it's a fun, fleet mega-medley packing many samples into one big whirlwind of yearning and dreaming, princesses and other protagonists, clocking in at just under five minutes. And the other ear candy is yummy, too. Even if the sounds of Liam Fennecken, Jim Hogan, and Brendan Jacob Smith radiate more of an ultra-polished pop/ boppy "boy band" vibe than any other style, there's entertainment value in the verve and vivaciousness of the vocalists who went viral on the internet. Members of the trio contributed to the writing and arranging of much of the material (Mr. Fennecken gets sole credit for writing and arranging "Giiirl"). More substantial is a creditable treatment of a rock relic from the 1970s: "Carry On Wayward Son," recorded by the group Kansas. So that sums up my heads-up on Option Up. |
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JOHN MINNOCK
CHUCK OWEN & RESURGENCE
JEFF HARNAR
ROSEMARY LOAR
ANDY JAMES
JACQUI NAYLOR
T.3