Customer Reviews

Portraits Of Wonder

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The editor's nutshell encapsulation of this CD describes it as a New Orleans Jazz Tribute to the Music of Stevie Wonder, but that's just a small part of what I get out of it.

True, many of these musicians are stalwarts of the New Orleans scene, but many of them are deservedly recognized far beyond the Crescent City. And, the music itself, while unified by its origins, is widely diverse in its realization.

Whenever I find a new recording that I love, I want to share it with my friends. I never just put it on and let it play, though. I think about who I am playing it for, and try to grab them first with the tunes I think they will like the best:

If you are a fan of New Orleans performers like Dr. John or Professor Longhair, then listen to Ebony Eyes first. For intricate modern ensemble writing reminiscent of Bob Mintzer's, check out the surprising Latin reworking of If It's Magic.

Some selections expand into sonicscapes akin to the surprising film scores of Randy Newman or Tom Waits. Ribbon In The Sky becomes a hypnotic groove over which the melody unfolds with such graceful restraint that you almost can't stand the release when it finally boils over.

And, if you just appreciate great musicianship, pick any track. George French, Brian Blade, John Ellis, and Matt Lemmler blow me away throughout.

These songs have been in our ears for a generation, and seldom does a musician take them far from their origins. On this disc, many of these songs become new again--revealing new meanings, new grooves, new flavors of harmony.

It's a great testament to Lemmler's imagination and skill that in spite of the familiarity of these songs, he has found these new facets and brought them to us. And, it's a great testament to Stevie Wonder that his songs bloom in the hands of creative musicians--in the tradition of Ellington, Gershwin, Cole Porter, and the other creators of the canon of great songs.

As pianist Matt Lemmler reminds us in his liner notes, jazz musicians have often turned to great popular composers for material. Citing examples like George Gershwin and Cole Porter, Lemmler rightly puts Stevie Wonder in their number as an artist whose works remain ripe for the plucking. For this ambitious and very satisfying project Lemmler arranged a selection of some of Wonder's most recognized tunes for a nine-piece ensemble made up entirely of New Orleans musicians. Wisely, he chose two exceptional singers-George French and Leah Chase-to perform the critical vocal parts. Empathetic to the material and extremely compatible with each other, they become the bright bow that crowns this well-designed package. Lemmler approaches the innards of these tunes as a jazz man, often taking them apart and reconstructing them with new rhythms and tones while showing reverence for their origins. Some classics, particularly those with vocals, like "You Are the Sunshine of My Life" and "Isn't She Lovely" remain stylistically close to their origins yet freshened by jazz arrangements and improvisation. Urbane and mature, Wonder's writings always brought an air of sophistication to the world of popular music, an aspect that is underscored in Lemmler's jazz interpretations and carried out by the large ensemble as heard on the disc's opener "Don't You Worry 'Bout a Thing." Of particular note, is the conceptually complex yet right on time rhythmic support offered by drum master Brian Blade. He and Lemmler pair up well on a provocative interchange on the first cut and carry on the articulate yet varying conversation throughout the disc. The rest of the solid band includes multi-reedmen John Ellis, Jason Mingledorff and Mel Rogers, trumpeters Jimmy Weber and Erik Jekabson, trombonist John Mahoney and bassist Mark Anderson. Lemmler pays further tribute to Wonder by closing with an original "S'Wonder Song." While evoking Wonder's style it embraces a certain little funk making it sound like something Stevie might have written if he was from New Orleans. Producer Tracey Freeman, who is best known locally for his work on albums by Harry Connick, Jr., and Kermit Ruffins, applies his talents to add the finishing touch to the classy product.

****.5 (4 1/2 Stars out of 5) Pianist Matt Lemmler has toured nationally with a theatrical production of "The Phantom of the Opera," gigged with the Dukes of Dixieland, Pete Fountain and the John Mahoney Big Band, and premiered his compositions at Carnegie Hall. But he's also apparently spent many nights paging through the Stevie Wonder songbook. Lemmler's debut CD is a collection of Wonder compositions arranged for a nine-piece jazz ensemble with vocals. Guided by Lemmler's often radical re-arrangements and the production skills of Tracey Freeman, known for his work with Harry Connick Jr. and Kermit Ruffins, an all-star cast of jazz musicians and vocalists Leah Chase and George French craft a fresh, skillfully rendered take on a very familiar body of work. Lemmler approaches Wonder's catalog as he would that of the Gershwins, Cole Porter, Duke Ellington or any other of the usual jazz source composers, which allows him great freedom in remaking it. "Higher Ground," for instance, is virtually unrecognizable as a seven-minute instrumental. "I Just Called to Say I Loved You" is turned inside out. Slowed way down and stripped bare, it becomes a forlorn lament from a spurned lover played by Chase. Long, droning notes from the horns set the mood; Mark Anderson's upright bass ushers in the barest of structure; Lemmler trickles piano notes over Brian Blade's isolated taps on the tom-toms. Against this backdrop, Chase oozes late night longing and hurt. "I just called to say I love you," she sings like Billie Holiday at her most devastated. "And I mean it from the bottom of my heart. "French, perhaps New Orleans' most underrated male vocalist, is given plenty of room to run as well. He lavishes an elegant take on "Ribbon in the Sky," dramatically holding out notes at its conclusion. The inherent sun in his voice is appropriate for "You Are the Sunshine of My Life." He and Chase team up on an upbeat "Ebony Eyes," in which Lemmler's Carnival-time piano is met by surging horns. Lemmler obviously relishes the options afforded by a nine-piece band, and he takes full advantage of the possibilities with arrangements that are full but not overloaded. "Portraits of Wonder" concludes with its lone Lemmler original, "S'Wonder Song," an instrumental paean to the disc's subject. An appealing, Wonder-esque melody is offset with a funky undertow, courtesy of the stutter in Blade's step. The horns answer in unison, with Lemmler's piano not far behind. Lemmler, obviously, learned the lessons of Wonder well.

The concept behind New Orleans pianist Matt Lemmler's new CD is so appealing, it's a wonder no one else has thought of paying homage to Stevie Wonder. What's even more appealing is Lemmler's approach to the Wonder songbook---instead of cover versions, Lemmler hits higher musical ground by recasting and rearranging 10 Wonder compositions into graceful pieces for a nine-piece ensemble.
Drummer Brian Blade sets the tone early on " Don't You Worry `Bout a Thing," with feather-light snare work and muted tom-toms providing the underpinning for economical horn charts and solos from a stellar local brass men like saxophonists John Ellis and Jason Mingledorff. It's a template reminiscent of Count Basie's uncluttered small-ensemble sides, with blues-based melodies on "If It's Magic" and "Isn't She Lovely" stretching out into subtle Kansas City-style swing. That format is tailor-made for the warm vocals of George French, who sounds reminiscent of Lou Rawls on joyously subtle readings of "Ribbon in the Sky" and " You Are the Sunshine of My Life." Leah Chase's husky shades provide a nice counterpoint for French on a sunny romp through "Ebony Eyes," with Lemmler rolling out some syncopated New Orleans piano underneath. Chase also shines on a haunting version of "I Just Called to Say I Love You," with a longing vocal that turns the song into a requiem for love.
Throughout the CD, Lemmler's playing functions like an anchor, rooting the songs with lingering chords and grace notes that forsake flash to let the overall colors of the ensemble shine. Lemmler's inner vision should make Wonder proud. ---

New Orleans jazz pianist Matt Lemmler took on an ambitious project for his debut as leader: The music of the great Stevie Wonder. Lemmler put together an impressive ten-piece orchestra featuring the likes of Brian Blade, John Mahoney, Scott Bourgeois, John Ellis, Jason Mingledorff, Mel Rogers, Jimmy Weber, Erik Jekabson, Mark Anderson and himself on the ivories. Combined, these musicians play some twenty-one different instruments offering Lemmler a wide range of colors and textures to inspire his arrangements. The icing on the cake is supplied by vocalists George French and Leah Chase.
Tribute records are often chancy and challenging affairs. First of all, this is a jazz record. No funk, smooth jazz, R & B or any of the usual grooves that one naturally associates with Stevie Wonder are to be found here. So, adjustments have to be made. As it turns out, the jazz vibe brings out the elegance of Wonder's music. "Ebony Eyes" and "You & I" are gorgeous vehicles for lovely duets by vocalists George French and Leah Chase. Similarly, Lemmler gloriously transforms Wonder's heretofore insipid "I Just Called To Say I Love You" into a ballad that Leah Chase approaches with an incredible sense of grace and sincerity. It will make you tremble.
Throughout, Lemmler's orchestra finds new colors inspired by Wonder's music. "Rocket Love" is one of the lovelier instrumentals featured here. However, the closing track "S'Wonder Song" is by far the most interesting and successful instrumental offering. An original penned by Lemmler himself, "S'Wonder Song" has a tinge of funk that is curiously missing from the rest of "Portraits of Wonder." It's loose, sparse, breazy, warm and bright. Promising indeed. Certainly makes one anticipate more great music from Matt Lemmler.