Customer Reviews

In And Out Of Love

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I hope to get a chance to review this album in a manner that does it justice. Given the drop-off in CD production, I was simply relieved to see a new album from one of America's greatest singers, who moreover now has to contend with the "youth bias" which--like it or not--plays heavily in all commercial production decisions. In fact, I was prepared to make a few concessions to father time--after all, legends like Ella, Sarah, Carmen, Sinatra and, without saying, Billie, were forced to come up with creative "workarounds" when their pipes and breath support began to fail them in the last decade or two of their careers (no doubt the new prohibitions against smoking will have a salutary effect on the longevity of today's artists).

But simply ignore "concessions" with regard to this remarkable musician, whose regimen, whatever it is, should be followed by anyone who has aspirations of singing professionally, regardless of style. Jay is sounding better than ever, her coloratura range, pure and crystalline timbre, and pellucid diction are even more apparent in 2010 than on the 2002 date she made with pianist Fred Hersch. Jay alternates easily and naturally between traditional standards from the American Songbook and cutting-edge "experimental," or "avant," music, thereby risking to alienate half of her following. But that's the kind of creative, adventuresome spirit she's always been: just as her knowledge of the tradition makes her innovations sound especially genuine, her appetite for challenging the old conventions assures interpretations of familiar material that sound fresh as the new-day sun.

The program is a mix of familiar "pop" gems and jazz standards, some quite challenging. And she increases the risk by "going naked," stripping her accompaniment down to the barest essentials--Jack Wilkins' guitar and Jay Anderson's bass, leaving no sonorities from drums and piano to hide behind. The trio are reminiscent of a prime-time Sarah Vaughan set called "After Hours," but Ms. Clayton takes on a more ambitious repertory. Still there are enough evergreens on the program to satisfy all, and for those listeners (though certainly not this one) who complain about losing patience with "overly slow" ballads, not to fear: Jay takes them at a tempo considerably faster than a Sinatra or Shirley Horn, providing just enough movement to hold the most impatient listener's interest for the duration. (But listen to subtleties like her turning a Bb from "How Deep Is the Ocean" into a quarter-tone! Were she not gifted with such flawless intonation, the moment would most likely escape the notice of the most attentive listener.)

Also, not to be missed: one of the bona fide jazz superstars of today, is the prodigious wunderkind, Esperanza Spalding. She's a marvelous singer, whose soprano range will occasionally remind you of a vocalist like Jay Clayton. Moreover, she's an equally proficient acoustic bassist, who can, while still in her early 20s, lay down 4/4 walking lines and play solos seemingly close to the level of a Ray Brown. All the same, whenever I hear her, it's a little like experiencing a polymath musician, proficient as a singer, player, composer, leader. What I don't hear is a complementary relationship between the voice and the bass that's sufficiently integrated to become a unique sound on to itself. Examples of the latter would be Major Holley, who sang in unison with his bass playing, and the underrated Slam Stewart, who sang in unison with his bass but one octave above its actual pitch.

Now listen to "Freedom Jazz Dance," the 3rd track on the present album, paying careful attention to the passages during which Jay is singing in perfect unison with Jay Anderson's bass--but 3 to 4 octaves above it! Not only is she hitting double high C's but she's doing so with deceptive ease and unfaltering accuracy while executing pyrotechnical passages in this register, resulting in an utterly new and persuasive marriage between the bass and voice. If Jay is permitted to continue coming up with albums like this one, she can't help but become a household word (perhaps even the esteemed Down Beat critics will recognize her in their politicized polls). All that's required is a pledge on the part of anyone who hears her not to tell her about "received wisdom" concerning sopranos and age (did Beverly Sills even continue after the age of 50?). In Jay Clayton's case, "received wisdom" is meaningless; in fact, it's without a recipient if the intended subject is an artist this eternally youthful.

It is pretty rare that I would write a review of a jazz vocal cd and maybe it is due to the fact that there is not much to write about these days?? And that I don't really feel competent to do so, but this is an exception purely because I am so enthusiastic about this cd.
Anyway so here I go.
As Jay says, she is primarily known as an avant garde singer but on this cd she decided to do standards, including instrumental standards.
The format is simple guitar, bass, voice, which includes Jack Wilkins on guitar and Jay Anderson on bass, both are well known in the more standard jazz repertoire.
The album opens with "Falling in love with love" Jay voice is clear, pure and warm, just charming, her phrasing and timing is perfect and when she improvise it is just so different than anybody else, her scatting is far removed from the stuff we used to, (a la Ella) and one does not get tired of it, if another singer would scat/improvise as much as Jay does, it would be over the top, but she always keeps it interesting.
Obviously she and Jack Wilkins on guitar must have practiced a bit as sometimes they sing and play in unison which would be near impossible as it sounds improvised and quite complex.
You do not need to worry, even on the so called instrumental tracks Jay's singing/scatting is always musical, melodic, and in good taste, but most of all it is unique, she has her own personal style, no licks from the past, it always sounds fresh.
Obviously Jay has been influencing lots of younger jazz singers, I won't mention names but for those of you that follow the NY scene I am sure that you will recognise which singers been listening and influenced by Jay.
Even on the more up tempo tracks the album is on the mellow side.
For me definitely the jazz vocal cd of the year, or should I say of the past few years!
A must for anybody that love jazz vocal.
And by the way Jack Wilkins and Jay Anderson are fabulous.
If in doubt have a listen to some clips on Amazon.
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